THEGAYUK

Author: Paul Szabo

  • Seven Days Later – The Legacy of the Pulse Nightclub Shooting

    Seven Days Later – The Legacy of the Pulse Nightclub Shooting

    Seven days ago my usual Sunday morning routine was in full swing. I was making a cup of tea, picking up my tablet and heading back to bed to eat biscuits, listen to the radio and browse the net. Seven days ago my usual Sunday morning routine was broken rather abruptly by the eight o’clock news as it reported the shooting at the Pulse Nightclub in Orlando, Florida. Seven days ago, my usual Sunday morning routine was interrupted for me to write an article on the breaking story for THEGAYUK.

    Photo Credit - Paul Szabo
    Photo Credit – Paul Szabo

    For the remainder of the day, as the events of the night before unfolded and the scale of the tragedy became apparent; I eagerly listened to the news for developments in a story that we all wish we had never had to hear.

    In the last week, I have felt many emotions about what happened that evening. Those people were groups of friends enjoying themselves in a nightclub, quietly getting on with their lives in a space that was meant to be a safe place for all members of the gay community. There are been times when I’ve been angry. There have been times when I’ve been sad. There are times when I have felt despair and there are times when I wondered exactly what this world is coming to.

    But despite all of these feelings, there is one which has always bubbled to the surface and has always seemed to have overridden all of the others, forcing them to be no more than temporary swells in a turbulent sea of emotion. And, believe it or not, it has been an enduring feeling of hope.

    On Monday evening, I attended a vigil in Sheffield, my home town. Sheffield does not have a particularly large gay scene and I felt it was important to go along not only to pay my respects to the victims of the tragedy but also because I felt that those who had organised the vigil at such short notice, who had publicised it and who were wanting to share their feelings with others should be supported. I wanted to take a stand and publicly say that this was not the type of story I ever wanted to hear about or write about again. As I approached the square where the vigil was to be held I was completely taken aback by the number of people who had attended. There were so many people who had come to express their sadness, their anger and to share in a common experience with others who felt the same.

    And that’s when I started to look at social media. Vigils were taking place not only in my home town but all over the UK. Whilst Compton Street made national headlines and was widespread across the media, there were pockets of people; in great numbers and in few; all over the UK who were coming together as a community to be unified in their grief, anger and support. It didn’t stop there. All over the world, vigils were being held and people were uniting.

    Both Twitter and Facebook were awash with rainbow flags, with the hashtag #loveislove, and with people outpouring not only their grief but also their support of the gay community. World leaders stopped to draw attention to the tragedy. All across the globe, people both gay and straight were coming together to tell the world that this tragedy is not acceptable. They were coming together to tell the world that prejudice will not be tolerated and they were coming together to tell the world that the fight will not cease until equality is achieved.

    And if there is a silver lining to this blackest of clouds, it hit me as I stood in the rain, surrounded by around 200 other people and holding a candle in Hallam Square in Sheffield. Despite the hatred that we so often see, hear about and experience; thankfully incidents like this devastating tragedy are rare. What it has highlighted to me is not the hate for the gay community that people hold; but actually how many people love, welcome and embrace the gay community; how many people support the gay community and, in particular, how the gay community support each other.

    I’m writing this article on Father’s Day. I can’t stop thinking that there are fathers in Orlando who are missing their sons or daughters today. I can’t stop thinking about how, for the husband of murdered MP Jo Cox, Father’s Day is going to have a very different meaning this year. It made me realise even more that all over the world there are fathers and mothers who are missing their sons and daughters because of hate crime and homophobia. But the outpouring of love and support across the globe in the wake of the Pulse nightclub shooting proves two things to those who hate – that love is stronger and that the numbers of people who offer love far outweigh those who offer hate.

    Whilst nothing can bring back those were needlessly murdered 7 days ago, we should celebrate their memory and their lives by remembering that on that very bleak day of the 12th June 2016, the World stood together and said that “love is love”; and that those taken from us left not only many happy memories for their family and friends, but also left the global gay community with a legacy of hope.

     

    Opinions expressed in this article may not reflect those of THEGAYUK, it’s management or editorial teams. If you’d like to comment or write a comment, opinion or blog piece, please click here.

     

  • Theatre Review | Into The Woods – West Yorkshire Playhouse

    ★★★★ | Into The Woods (National Tour)

    A baker and his wife long for a child, but a curse placed on their family many years ago prevent them from having their hearts desire.  But when the Witch who cursed them offers to lift her spell over the family in exchange for them bringing her four specific items; the two of them set out into the woods on a quest which interweaves four very familiar stories.

    Photo Credit : Manuel Harlan

     

     

     

     

     

    Stephen Sondheim’s darkly comic fairy tale mash up is a curious beast. The first act is a charming, comical and whimsical look at the intertwining tales of four familiar stories, Cinderella, Jack and the Beanstalk, Rapunzel and Little Red Riding Hood. The familiarity of the stories and the light comic moments wash over you with a feeling of warm nostalgia, bringing the first act to a close with a happy ending, as all good musicals (and indeed, as all good fairy tales) should. The second act, however, takes a much darker tone, reflected in the subject matter, the musical numbers and the presentation, as Sondheim bleakly examines the impact adults have on their children and how death affects us all. Jack is raised by a single mother, Rapunzel and the witch have a dysfunctional mother / daughter relationship, Cinderella pines for her dead mother and the Baker has his own issues with his absent father. Sondheim certainly pulls no punches as to how parents influence their offspring.

    Performance wise, the co-production between West Yorkshire Playhouse and Opera North is a visual and aural treat. Colin Richmond’s set design starts as a faithful recreation of a primary school classroom, which transforms with remarkable versatility as the tale unfolds, and the staging of the play within a school setting reinforces the themes of parental influence in the second act. The forest of playground swings added eerie gravitas to the set which was enhanced by the digital projections at the rear of the stage. Puppetry further laid on the childhood charm and there is a ‘giant’ character as the second act opens which is enough to induce both laughter and reawaken childhood fears simultaneously.

    The cast sang remarkably, as one would expect, and it was a genuine pleasure to see a musical where absolutely every cast member could sing beautifully; providing expression, emotion and perfect diction in every line.  Claire Pascoe excelled as The Witch both in acting and singing, whilst Ross McInroy had velvet voice which I could have happily listened to all evening.

    Sondheim can often be quite heavy going, and the second act certainly felt very dark (and perhaps just a tad long), as it became increasingly bleak in its portrayal of what happens “after happily ever after”. But despite this, you can’t help but leave the theatre feeling that you have been on a journey, as the show itself presents as somewhat of a metaphor for the woods themselves – the more you journey into it, the darker it becomes.

    Into The Woods is a co-production between Opera North (www.operanorth.co.uk) and West Yorkshire Playhouse (www.wyp.org.uk) and is playing until 25th June 2016. For details or to book tickets visit their websites or call the theatre on 0113 213 7700

     

  • 50 People Killed at Gay Nightclub in Florida

    50 People Killed at Gay Nightclub in Florida

    50 people are now reported to have been killed at a mass shooting in a Florida gay club in the early hours of Sunday morning which has left many casualties according to Orlando Police.

    Embed from Getty Images

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  • Kylie Records the Ab Fab Movie Theme, Sweetie Darling

    Kylie Records the Ab Fab Movie Theme, Sweetie Darling

    As if the excitement of the long awaited Ab Fab movie wasn’t enough to tantalise the gay community, the shows much loved theme tune, This Wheels On Fire has been recorded by the one and only Kylie Minogue.

    Credit: © s_bukley | Depositphotos

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  • THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    Set in the prohibition era, Chicago tells the story of Roxie Hart, who shoots her lover and finds herself of death row; alongside Vaudeville star Velma Kelly. Enter slick lawyer and media manipulator, Billy Flynn, who takes on Roxie’s case and simultaneously pushes Velma out of the headlines. As the two women catfight for the spotlight, the dirty tricks and rivalry escalate as each try to ensure that they make the front page. ★★★★

    Photo Credit - Catherine Ashmore
    Photo Credit – Catherine Ashore

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  • Theatre Review | Dancing In The Streets – Sheffield Theatres & National Tour

    ★★★ | Dancing In The Streets

    Mowtown magic lives on in this musical revue, pulling together the classic artists, the timeless songs and the sound which defined a generation with an unmistakable musical legacy.  Featuring songs from The Temptations, The Four Tops, Martha Reeves, Diana Ross and the Supremes, Lionel Richie and Stevie Wonder; seven singers and a live band bring to life the golden days of Tamla records.

    Photo Courtesy of The Flying Music Company Ltd.

    Musical revues can often come across as slightly polished cruise ship cabaret and their success rests primarily on their subject matter rather than the way in which they are put together. Production wise, one would be hard pressed to find very much to sing about with this show, with nothing more than a static set made up of a handful of podiums for the backing band, three posters of legendary artists, an average lighting set up and a collection of microphone stands. The costumes are functional but nothing spectacular and overall, the whole show remained on a plateau in terms of pace and presentation. There is no narrative, just a relentless set list to carry the show over its two hour running time.

    But it is that set list which really scores the points for this production, with songs including “Superstitious”, “Stop In The Name Of Love”, “Baby Love”, “Reach Out, I’ll Be There”, “My Girl”, “Dancing in the Streets”, “The Tracks Of My Tears”, “Get Ready”, “River Deep Mountain High” and “Ain’t No Mountain High Enough”, the show certainly crams in the classics.  Performed by a five piece band, three female singers and four male singers, the vocals were perfectly functional, with all of the singers taking turns to step into the limelight, and each of them finding their niche with a particular song or two. But where the show succeeds is in getting the audience involved. From the outset, audience members were encouraged to dance, clap, sing and shout throughout the proceedings, and the audience certainly took advantage, barely sitting down for the majority of the show and quite literally packing out the aisles in the theatre as they danced.

    When you compare this show to others similar revues, such as Thriller Live which has the hits coupled with some slickly choreographed routines, Dancing in the Streets is lacking in spectacle and, quite honestly, is visually rather bland. But what it lacks in spectacle, it makes up for in energy and atmosphere.

    So put on your dancing shoes; and provided you go and see this show for the music and the party atmosphere, and not for the production values, then you are highly likely to have an enjoyable night.

    Dancing In The Streets is currently on tour throughout the UK until 19th June 2016. For details, see http://www.flyingmusic.com/our-shows/dancing-in-the-streets/ .The production was viewed at Sheffield Theatres (www.sheffieldtheatres.co.uk) who have announced their new season, including Lady Chatterley’s Lover, Annie Get Your Gun, The Shawshank Redemption and Everybody’s Talking About Jamie.

  • Theatre Review | Flowers For Mrs Harris – Crucible Theatre

    ★★★★ | Mrs Harris is a post-war charlady and widow, struggling with austerity and living a life of the mundane, until, that is, she stumbles across a Christian Dior dress in the wardrobe of a wealthy client she cleans for. Obsessed with owning such a thing of beauty, she works and saves for the dress, and finally journeys to Paris, where she realises what really makes her happy.

    Photo Credit – Johan Persson

    The show is adapted from the novella by Paul Gallico and is presented, in the main, as a sing-through musical. The show is a muted affair, but benefits immensely from its style and presentation. The set is a sparse affair; a monotone of grey with scant scenery. There are no big production numbers or show stopping moments and there is a limited but talented cast. But what this provides in exchange is an abundance of intimacy and emotion; a heart-warming tale with characters you can emotionally invest in and a central character who is, quite frankly, nothing special, but actually, doesn’t need to be.

    The story is one of investment of kindness in others; and of letting go. Mrs Harris’ determination to own the dress of her dreams, to bring glamour and beauty into her uneventful life, is laced with a poignancy which somehow manages to celebrate the ordinary. Written and composed by Richard Taylor and Rachel Wagstaff, the show carries with it a sense of tradition, having a real air of an old fashioned musical. Even the songs, which are all brand new, sound somehow familiar and there is warmth resonating from the production as a whole which adds to its seasoned feel.

    Clare Burt’s portrayal of Mrs Harris is tender and down to earth, whilst it is Anna-Jane Casey as Vera, Mrs Harris’ best friend, who steals her scenes; and Lois Maskill is in fine voice throughout in the dual roles of Bob and Andre. Director, Daniel Evans, makes a low key finale to his tenure at Sheffield Theatres, and it is somewhat fitting that his swan song is about the impact of giving to others.

    With gentle references to My Fair Lady and It’s A Wonderful Life; and just a hint of Pretty Woman; Flowers for Mrs Harris is unashamedly sentimental with an emotional ending to a story of love, loss, rebirth and finding out what really counts in life.

    Flowers for Mrs Harris has just had its world première at the Crucible Theatre, Sheffield and plays until 4th June 2016. Visit www.sheffieldtheatres.co.uk for details or call the box office on 0114 249 6000.

     

     

  • Theatre Review | Priscillia – Queen of the Desert – National Tour

    ★★★★ Priscilla Queen of the Desert | In this joyous musical based on the cult film of the same name, three drag queens “unplug their curling wands and go bush” to travel across the outback; as they bitch, bicker and laugh their way across the desert en route to a show in a casino in Alice Springs.

    The trio continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs” as they fall in love, cement their friendship and learn about life on the way to the show of their lives.

    Following the story of the cult film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of gay club disco classics, including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, meaning that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Jason Donvan was functional as Tick, and poked a little fun at his Neighbours days, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam, whereas Simon Green filled the stiletto’s of Bernadette perfectly, with a rounded, character filled performance. The supporting cast were, as you would expect, ludicrously attractive and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a sharp, funny script, including many of the quotable lines from the movie and all of the characters  that you know and love from the film (including good ol’ Shirl). But where the show really came into its own was in the musical numbers, taking some from the film and adding some new ones just for the show. The routines were over the top, bold, brassy and ballsy, with costumes to match (flip flop dress, anyone?). Everything from dancing paintbrushes, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    If you haven’t seen the show, then go and treat yourself. If you have, then go again, even if it is to spot a few changes in the production this time around, (although not all of them work – especially ditching It’s Raining Men as the opening number). There is an underlying message of acceptance in society and strength in friendship underneath it all, but it is smothered in a thick layer of campness and kitch which plants the show firmly in realms of the feelgood musical.

    Overall, this was a really great, fun show and a piece of feel-good, uplifting and ultimately heart-warming theatre which has its tongue firmly lodged in its cheek. It’s a real feast for the eyes, the ears, the heart, the soul and the funny bone.

    Priscilla is currently at Sheffield Lyceum Theatre until May 28th 2016 (www.sheffieldtheatres.co.uk) before continuing on it’s national tour. See www.priscillathemusical.com for details.

     

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★ |  Northern Ballet’s Jane Eyre

    In an adaptation of Charlotte Bronte’s iconic novel, Jane Eyre is an orphan who is treated cruelly by her Aunt and sent to an institute for young girls. From there, she moves to work at Thornfield Manor as a governess and swiftly falls in love with her employer, Mr Rochester. But the Manor House harbours dark secrets, and as their love grows, Jane’s independence and fiery temperament surfaces as those secrets are revealed.

    Trying to cram the complex and multi-layered classic novel into a 100 minute ballet was always going to be a difficult challenge, and one which choreographer Cathy Marson takes on with confidence.  The staging of the ballet itself is inventive, with the use of curtains which are moved and positioned across the stage to effectively and cleverly convey both the confines of Thornfield Manor House and the sweeping moors.

    At times the choreography was beautifully done, leaning far more towards the contemporary rather than the traditional, with a lot of delicate lifts, floor work and precise movement, contrasting moments of tender intimacy with complex ensemble pieces. Both Dreda Blow and Javier Torres’ performances were more than noteworthy and displayed their professional competence; whilst overall, the supporting company’s movements were of their usual high quality.

    Whilst the technical excellence of the company meant foot sure and stumble-free performances, the production did falter slightly over the issues of narrative and characterisation. The novel itself portrays so many aspects of Jane’s life, and the ballet hits most of the significant events, but with so much to cover within so little time, the narrative felt rushed, superficial and unclear; whereas the characterisations were not as clearly defined as one would hope, leading to further confusion.

    Overall, adapting Jaye Eyre is a huge task and one which is beautifully staged and performed, but the juxtaposition of the contemporary dance and the period setting, coupled with the rushed narrative amounts to a production which is enjoyable, but doesn’t quite come together to be more than the sum of its parts.

    Jane Eyre had its world premiere at CAST Theatre, Doncaster; who hosts a varied range of performances. Visit their website at www.castindoncaster.com for full details. Northern Ballet is currently touring Jane Eyre, with productions of 1984, Romeo & Juliet, Wuthering Heights and Beauty and the Beast to follow later on this year. Visit www.northernballet.com for details.

     

  • Theatre Review | Matthew Bourne’s Sleeping Beauty – Lyceum Theatre, Sheffield

    ★★★★★ Matthew Bourne’s Sleeping Beauty | In a reworking of the classic fairy tale, Princess Aurora is cursed by the dark fairy, Carabosse, to die after pricking her finger on a rose on her 21st birthday. But after Carabosse dies in exile, her son Caradoc vows to avenge his mother and fulfil her curse. But things don’t go according to plan and instead, Aurora falls into a deep sleep for 100 years, meaning that is down to Leo, the royal groundskeeper and Aurora’s true  love, and Count Lilac, King of the Fairies, to save her; in this gothic, romantic, love story that transcends the centuries.

    Photo Credit: Johan Persson

    Bourne is known for placing a contemporary spin on a classic ballet score, having already taken on two of Tchaikovsky’s greatest, The Nutcracker and Swan Lake with great success; and he completes his trilogy with Sleeping Beauty, setting a fresh take on the story to the time honoured traditional score, with an elegant production.

    Bourne delivers some intricate and masterful choreography that veers between the playful, the romantic and the dramatic; as he floods the stage with waves of movement to completely mesmerise the audience, clearly define the characters and progress the narrative. Where he really succeeds is the pacing of the piece, as it opens strongly and keeps building and building, with each set piece seemingly bettering the one before.

    The cast were universally outstanding, with Ashley Shaw demonstrating a natural grace and skill with her portrayal of Princess Aurora. Chris Trenfield was delightfully charismatic and alluring as Leo and Adam Maskell revelled in his deliciously dark dual roles as both Carabosse and Caradoc, roles which he has clearly now defined. But equally, there was very little to separate out the remaining ensemble whose technical skill, timing, precision and uniformity was impeccable, from their delicate and intricate movements to their facial expressions.

    From the jolting opening scene with its booming thunder to the thrilling final act (which I shall not spoil), Sleeping Beauty is a sumptuous production with an overlay of vampirism, gothic beauty and visuals which enchant and enthral. In a show which oozes quality from every aspect, in terms of set, costume, lighting, direction, performance and visuals, it amount to two hours of simply breath-taking, flawless and unforgettable theatre.

    Sleeping Beauty is currently at Sheffield Theatres until 21st May 2016 (www.sheffieldtheatres.co.uk). Matthew Bourne’s New Adventures have recently announced Matthew Bourne’s new production, The Red Shoes, which will have its world premiere in Plymouth in November 2016 and which is to tour nationwide in 2016/17. Visit www.new-adventures.net/ for details.

     

     

  • Theatre Review | End Of The Rainbow – Sheffield Theatres and National Tour

    ★★★★ | End Of The Rainbow

    Set primarily in a hotel room as Judy Garland embarks on a set of comeback shows in a six week residency in London,  End Of The Rainbow examines the on and off stage crumbling of an iconic figure and her ongoing battles with her personal demons

    Photo Credit – Pamela Raith Photography

    As Judy succumbs to a cocktail of drink and drugs. Garland tries to hold things together as she is pushed to the brink by her fiancé, who is torn between his desire for them to share a private life and successfully reviving her career and fighting off her financial difficulties.

    Starring in the role of Judy is Lisa Maxwell (Loose Women), who gives a simply superb performance, capturing not only the mannerisms and melodic intonation of Garland but effectively portraying the contrasts between her brashness and her vulnerabilities and offering genuine raw emotion in numerous scenes showing just how tragic many of the aspects of Garland’s private life was. Alongside her was Gary Wilmot, who offers a gentile and steady portrayal of Anthony Chapman, Garland’s gay pianist and confidant; and Simon Pontin as Micky Deans, her fiancé.

    Peter Quilters play is lovingly written, juxtaposing the wit, bravado and sheer brashness of Garland with her heart-breaking vulnerabilities and desperation. The play shows Garland at her best and worst and provides scenes which really do gut punch you. As a drunken Judy, a quivering mess, lays on the floor begging for pills and to be loved, you can’t help but feel sorry for her. Aspects of Garland’s life are sensitively handled; yet don’t lose any of their power, in particular as she talks about being force-fed pills from a very young age by both the movie studios and her mother.  But it isn’t all downbeat, as Judy’s legendary rapier sharp wit cuts through the drama and the scenes in the hotel are interspersed with a smattering of some of her classic hits, which are belted out with aplomb by a vocally impressive Maxwell, all of which is sufficient to lighten the mood.

    End of the Rainbow avoids being a saccharine coated tribute by a country mile, and instead is a warts and all portrayal of Garland as she descends back into the pill taking and drinking that would soon consume her; and which examines the person she had become as a result of the years of the pressures of fame and the treatment of her by those around her. Yet despite all of that, Garland never really comes across as a victim in all of this, but instead remains an unstoppable, headstrong force of nature whose confidence and bravado no doubt masked a fragile and helpless woman.

    End of the Rainbow is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until Saturday 15th May 2016, before continuing on its national tour. See the show’s official website at www.endoftherainbowtour.co.uk for details.